Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation

International Journal for the Scholarship of Teaching and Learning Volume 3 | Number 2 7-2009 Perceptions of Visual Culture in Turkish PreService Art Teacher Preparation Nur Balkir University of North Texas, nurbalkir@hotmail.com Recommended Citation Balkir, Nur (2009) "Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation," International Journal for the Scholarship of Teaching and Learning: Vol. 3: No. 2, Article 22. Available at: https://doi.org/10.20429/ijsotl.2009.030222 Article 22 Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation Abstract One of the key tasks of the university in the 21st century is to nurture visually literate students in the information age. Given that we live in a very highly visualized world, it is increasingly important that students are educated as critical viewers who are able to respond to visual images in an analytical and selective manner. The education of critical viewers starts with art teachers who appreciate and understand the embedded value of imagery within cultures, cultural differences, students’ knowledge and experience, critical thought, and reflection. The creation of progressive models in art teacher education that connect art and everyday life can help achieve this goal. One vehicle that may help teachers arrive at this goal is visual culture. This study explores the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. It examines the instructors’ perceptions of visual culture, popular culture, and its impact on society. Keywords Art education, Visual culture, Art teacher education (Pre-service art education), Visual culture art education Creative Commons License Creative Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 AttributionLicense. NoncommercialNo Derivative Works 4.0 License IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 Pe r ce pt ion s of Visu a l Cult u r e in Tu r k ish Pr e - Se r v ice Ar t Te a ch e r Pr e pa r a t ion N u r Ba lk ir Universit y of Nor t h Texa Dent on, Texas, USA nur balkir@hot m ail.com Abst r a ct One of t h e k ey t ask s of t he universit y in t he 21 st cent ury is t o nurt ur e visually lit erat e st udent s in t he inform at ion age. Given t hat w e live in a v ery highly visu alized world, it is increasingly im port ant t hat st udent s are educat ed as crit ical view ers w ho ar e able t o respond t o visual im ages in an analyt ical and select iv e m anner. The edu cat ion of crit ical view er s st art s wit h art t each ers who appreciat e and underst and t he em bedded value of im agery wit hin cult ur es, cult ural differences, st u dent s’ knowledge and experience, crit ical t hought , and r eflect ion. The creat ion of progr essive m odels in art t eacher educat ion t hat connect art and ev eryday life can help achieve t his goal. On e v ehicle t hat m ay help t eachers arriv e at t his goal is visual cult ure. This st udy ex plores t he st at e of art educat ion in Turk ey as rev ealed by pre- service art educat ion universit y inst ruct or s, and t he pot ent ial of incorporat ing visual cult ure st udies in pre- ser vice art educat ion in Tur key . I t exam ines t he inst ruct ors’ percept ions of visual cult ure, popular cult ur e, and it s im pact on societ y . Ke yw or d s: Art Educat ion, Visual Cult ure, Art Teach er Educat ion ( Pre- Ser vice Art Educat ion) , Visual Cult ure Art Educat ion. Visu a l Cu lt u r e in t h e Con t e x t of Tu r k e y This st udy gr ew out of bot h a personal and a nat ional concern about t he st at e of art t each er educat ion in Tu rk ey and t he pot ent ial of visual cult ure t o produ ce a change in t he way art is t aught . Ther e is a need for ex t ensive r eflect ion on and debat e about t he m eaning of art t eacher educat ion and it s expect ed out com es in cont em porar y Turkish societ y. Thus, it is im port ant t o ident ify best pract ices as t hey relat e t o visual cult ur e t o m ov e t ow ard change at a nat ional lev el. Visu a l Cu lt u r e a n d Ar t Te a ch e r Ed uca t ion I t is com m only adv ocat ed by visual cult ur e art educat ion ( VCAE) proponent s t hat st udent s should be prepar ed t o r esponsibly liv e wit hin t he cont em porar y sociological spher e. Th e pedagogical approach t hat is shar ed by visual cult ure educat ors ( Duncu m , 2001, 2002; Fr eedm an, 2000, 2003; Fr eedm an & Schuler , 2 002; Tavin, 2000, 2003) calls for an art educat ion t hat includes conscious and crit ical form s of st udent socio- cult ural engagem ent . Duncum ( 2001, 2002) and Fr eedm an ( 2001, 20 02) put an em phasis on t he fact t hat art edu cat ion should go bey ond it s form alist ic r oot s of aest h et ic, which basically addresses aest het ic problem s relat ed t o t he abst ract qualit ies of m odern art . They believ e t hat t his t ype of appr oach, which originat ed from Kant ’s crit iques sim ply condit ions t he way st udent approaches a series of form s isolat ed from m eaning ( Freedm an 2001) . https://doi.org/10.20429/ijsotl.2009.030222 1 Perceptions of Visual Culture How t he incorporat ion of visual cult ure and popular cult ure can enhance t eaching and learning wit hin t he pre- ser vice classroom is becom ing an increasingly im port ant quest ion. Visual cult ure and m edia t echnologies inevit ably lead t o changes in h ow art educat ors ar e prepared at t he local and nat ional lev els. I n t he area of visual cult ure, w hat knowledge and awar eness pr ospect ive art t eacher s hav e, and how t hey incorporat e t heir individual int erest s, abilit ies, and daily life experiences int o t he classroom ar e legit im at e ar eas of inquiry. Therefore, research on t he beliefs and at t it udes of pre- service art t eacher s and art t eacher educat or s r egar ding visual cult ure and it s use wit hin pre- ser vice art educat ion is also essent ial. The inform at ion societ y is heavily dependent on com m ercial m ass m edia. An im port ant funct ion of educat ion is t o help young people becom e bet t er crit ics and analyst s of visual and popular cult ure. This requires a crit ical pedagogy ( Giroux, 1992; Tavin, 2001, 2003) built wit h a crit ical analysis of t he m edia and visual cult ure. Kevin Tavin ( 2003) , in his doct oral st udy, dem onst rat ed h ow crit ical pedagogy and visual cult ure can provide div er se t heoret ical t ools for art educat or s and elem ent ary educat ors t o m ov e bey ond DisciplineBased Art Educat ion t ow ard a perfor m at iv e t ransdisciplinary pract ice. Tavin ( 2003) said, Bot h crit ical pedagogy and visual cult ure can be underst ood as react ion s t o and count er m ov em ent s against conser vat iv e form at ions, posit ivist ic t heories, and undem ocrat ic inst it ut ion al st ruct ures. Crit ical pedagogy, in all of it s variat ions, challenges t echnocr at ic m et hods of educat ion t hat rely on so- called obj ect ive classroom pract ices and depolit icized curricula. I n t his sen se, crit ical pedagogy at t em pt s t o provide an alt ernat ive t o t radit ional not ions of sch ooling, aut horit y, and knowledge const ruct ion. ( p.99) Pu r pose of t h e St u dy Turk ey is facing an ex plosion in t h e product ion and consum pt ion of visual im agery; t hus, it was t he desire of t he r esearch er t o underst an d t he different im pact s of local and global visual cult ure on Turkish people. Visual cult ure elem ent s, such as t he m edia, I nt er net , adv ert isem ent s, and sh opping m alls hav e been int egrat ed int o t he lives of Tu rkish people so quickly t hat t he result is a superficial copying of West ern ways wit hout a nat ural progr ession –doing it t heir own w ay wit hout t he ext rem e pr essu re of ex t ernal influences. An exam inat ion of bot h t he cause and t he result of t his speedy adapt at ion of new dev elopm ent s in Turk ey is necessar y. While t he effect of speedy t echnology as it relat es t o m edia or t h e I nt ernet m ay be observ ed as ov er whelm ing for people acr oss t he w orld, t he im pact of t he adapt at ion on t he local and global visual cult ure in a dev eloping count ry lik e Turk ey m ay be ev en m ore drast ic and det rim ent al. I n addit ion, a fast adapt at ion of West ern life st yles m ay ult im at ely m ak e it difficult t o r eflect upon what is ex perienced and what is seen – defined as ‘visual illit eracy ’. I n r esponse t o visual illit eracy , t h e r esponsibilit ies of art t each er educat ion inst ruct ors in fost ering visually lit erat e individuals w er e exam ined. I exam ined t he st at e of art edu cat ion in Turk ey as rev ealed by universit y pr ofessor s who t each art st udio an d t heor y cou rses, and explored t he pot ent ial of incorporat ing visual cult ure st udies in art t eacher educat ion in t he cont ext of Tu rk ey. Visual cult ure w as exam in ed from an art educat ion perspect ive t hat focuses on a pedagogical approach t hat em phasizes t h e percept ion and crit ique of popular cult ure and ev er yday cult ural experiences, and t he analysis of m edia including t elevision program s, com put er gam es, I nt ernet sit es, and adv er t isem ent s. Th e st udy is aim ed t o https://doi.org/10.20429/ijsotl.2009.030222 2 IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 provide insight s int o t he pot ent ial cont ribut ion of t he st udy of visual cult ure t o t he im prov em ent of art t eacher t raining in general and specifically in Turk ey . D e scr ipt ion of t h e Re se a r ch M e t h odology A phenom enological hum an science approach was em ploy ed in order t o develop a descript ion of t h e percept ion of visual cult ure in pre- service art educat ion in Turk ey as lived by t h e par t icipant s. I n- person int er view s w er e used t o collect t he dat a from a purposiv e sam ple of 8 facult y m em bers wh o offered undergraduat e and graduat e art educat ion pedagogy , art hist ory , and st udio cou rses wit hin four- y ear public universit ies. This em pirical approach sought t o obt ain com prehensiv e descript ion s of an experience t hrough sem i- st r uct ural int erviews. Th ese int er v iews em ploy ed open- ended quest ions t o gat her infor m at ion abou t t he following: t heir educat ional and pr ofession al background; t heir definit ions of art educat ion and art t each er educat ion and what it m eans for t hem t o t each pre- service art educat ion; crit ical reflect ions on t he educat ional syst em of Turk ey; percept ion s of visual and popular cult ure; and finally individual approaches t o t eaching art educat ion. Each part icipant was giv en pseudonym s in order t o ensu r e confident ialit y. I n t his st udy, I ex am ined t he r espondent s’ experiences r elat ed t o t he t opic, t hen pr esent ed a “ nar rat ion of t he ‘essence’ of t he experience” t hrough reflect ing his or her own descript ion, and, finally, “ seeking all possible m eanings and div ergent perspect iv es” ( Cr esw ell, 1998, p.150) . My own experiences cont ribut ed t o t he underst anding of socially est ablished st ru ct ur es of m eaning in t he st udy. By being aware of personal experiences, I was able t o com par e an d cont r ast t he subj ect s’ responses wit h t he r esearcher’s own experience. Th e st udy r equired t hat I ident ify and describe per sonal perspect iv e while recognizing m y biases on t he subj ect . As t he r esearcher, I w as m ost int er est ed in t he explorat ion of t he essences or st ruct ures of t he experience of ot her people in relat ion t o her own underst anding and experience of t he phenom en on. Th e use of phenom enological research for underst anding hum an experience was suit able for t h e explorat ion of t he m eanings behind t he personal int erpret at ion s of t he art t eacher educat ion inst ruct ors in Turk ey . D a t a An a ly sis I n t he dat a analysis, t h e int erviews w er e t ranscr ibed v erbat im and t hen read sev eral t im es t o begin t he form ulat ion of im port ant t hem es an d / or m eanings. Then, I ext ract ed st at em ent s from each int erview t hat r elat ed t o how t he individual experienced t he t opic and t hen grouped t hese st at em ent s int o m ain and subt hem es ( Cresw ell 1998) . I reflect ed on her own descript ions t hrough using “ im aginat ive variat ion or st ruct ural descript ion, seeking all possible m eanings and divergent perspect iv es” and t hen con st ruct ed “ an ov erall descript ion of t he m eaning and t he essence of t h e experience” ( Cresw ell, 1998, p.1 50) . Aft er t his process, I finalized t h e dat a analysis wit h a com posit e descript ion of each part icipant ( Cr esw ell, 1998) . I n an at t em pt t o incr ease obj ect ivit y, I brack et ed m y conv ent ional knowledge in order t o avoid m aking j udgm ent s while m aint aining perspect iv e. This pr ocess helped rem ind m e t o list en and learn from t he inform ant s wit hout bias fr om m y own experiences. https://doi.org/10.20429/ijsotl.2009.030222 3 Perceptions of Visual Culture To t his end, t h e st udy concent rat ed on t he m eaning and t he educat ional im plicat ions of adopt ing broader concept ions such as visual cult ure wit hin t he cont ext of art t eacher educat ion in Tu rk ey. I analyzed t he concept s t h at described t he visual st udies process, evaluat ed t h e logical relat ions bet w een claim s of what visual cult ure st udies can do in art educat ion, and un eart h ed hidden assum pt ions as t hey relat ed t o t he t r anslat ion of Am erican visual cult ure t o a Tur kish cont ext . Consequent ly, I laid out how t hese t ranslat ions could be m odified t o t he needs of Turkish cult ure. Lim it a t ion s of t h e St u dy The m aj or lim it at ion of t he st udy was t he sam pling. Alt hough t he sam ple size was adequat e for a phen om en ological st udy, addit ional part icipant s fr om different r egions of Tu rk ey could have pot ent ially rev ealed m or e t r ut hs about t he st at e of art t each er edu cat ion and different percept ion s of ot her inst ruct ors on visual and popular cult ur e. All eight universit y professors wer e select ed from four universit ies locat ed in t he West ern part of Tu rk ey. I t is lik ely t hat visual cult ure and it s im pact in t he East ern part of Turk ey is great ly different fr om t hat of t he m ore West er nized sect ion of t he count ry and pr esent s it self as a m ost im port ant lim it at ion of t he st udy . The phen om en ological m et hod requires t he r esearcher t o brack et his or her “ preconceiv ed ideas about t he phen om enon t o underst and it t hrough t he voices of t he inform ant s” ( Cr esw ell, 1998, p.54) . Through using t he m et h od of brack et ing as one of t he essent ial point s of t he dat a collect ion and analysis, t he r esearcher at t em pt ed t o avoid possible int errupt ions by person al precon cept ion s and prej udices, unless t he r esearcher believed t heir inclusion st rengt hened t he st udy . How ev er , t his st udy was lim it ed by t he ex t ent t o which t he r esearcher could effect iv ely achiev e brack et ing. Re su lt s Pe r ce pt ion s of Tu r k ish Ar t Te a ch e r Ed u ca t or s Pe r t a in in g t o t h e D e f in it ion a n d t h e Con t e n t of Pr e - se r v ice Ar t Educa t io n in Tu r k e y The subj ect s w er e ask ed t o provide a definit ion of art t each er educat ion in general and/ or in Turk ey . The m aj orit y of part icipant s answ er ed t he quest ion based on t heir t h ought s about art t eacher educat ion in t heir depart m ent s, while a few of t hem offered m ore generalized answers. The part icipan t s built t heir definit ions of art t eacher educat ion around problem at ic aspect s of pr e- service art educat ion in Tur k ey. One of t h e inform ant s, Aysen, said t hat t eaching is not recognized as an im port ant j ob in Turk ey as it used t o be. She said t hat she believ es t he v alue of art educat ion has decreased ov er t h e y ear s and being an art t eacher is seen as an easy way out . Anot her infor m ant , I sm et said t hat it is ver y difficult for him t o com e up wit h a definit ion of art t eacher educat ion. I n his view, “ t here ar e t w o essent ial t hought s; one is t hat it ’s not n ecessar y t o be an ar t ist t o becom e an art t eacher , as t o becom e a biology t eacher, it ’s not necessar y t o be a biologist . Am erica says t hat t o be an art t eacher , it ’s not n ecessary t o be an ar t ist .” He not ed t hat t radit ionally in Turk ey, art t each er educat ion depart m ent inst ruct ors are, in m ost cases, ar t ist s befor e an yt hing else. For him , since bot h art st udio and art t eacher educat ion are v er y dem anding it is necessary t o balance t hem , and it is also necessary t hat bot h t he inst ruct or s and st udent s be able t o different iat e art educat ion from art t each er educat ion. For Lat ife, in art t eacher educat ion it is essent ial t o giv e st udent s m ot ivat ion t o search for new infor m at ion and t o enable t hem t o present t he infor m at ion t hrough int erpr et at iv e and https://doi.org/10.20429/ijsotl.2009.030222 4 IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 crit ical viewpoint s. Mu st afa expressed a concern t hat m ay indir ect ly define what pre- service art educat ion m eans in t he cont ext of Tur k ey . I n his w or ds, The syst em r equires st u dent s t o be t rained as pre- service art t eachers. How ev er , it has been v er y difficult for t he graduat es t o be appoint ed as art t eachers du e t o variou s reasons. For inst ance, Kam u Personali Secm e Sinavi ( KPSS) - St at e Em ploy ee Select ion Test has been creat ed by t he gov ernm ent t o reduce t he num ber of t each er appoint m ent s. So what w e t r y t o do her e is t o creat e alt er nat ives t hat could be used by st uden t s in t he j ob m ark et upon graduat ion. We en courage t h em t o learn or ev en professionalize in cert ain areas such as print m aking, gr aphic art s, sculpt ure, ceram ics, which are part of ou r progr am s. We are t rying so h ard t o ext end t h eir j ob alt ernat ives. We also t ry t o t each t hem t he et hical aspect s of being an art t each er and t he art ist ic at t it ude an d ident it ies. Pa r t icip a n t s’ Vie w s o n t h e Pr ob le m s a n d Con ce r n s a bout Ar t Te a ch e r Edu ca t ion in T u r k e y When asked about t he problem s facing art t eacher educat ion depart m ent s in Turk ey, a plet hora of concerns and issues w ere laid out by t he r espondent s. I t w as expr essed t hat som e of t he problem s arise from t he m isguided policies of t h e changing gov ernm ent and t hrough t he pr esence of t he Council of High er Educat ion ( YOK) , while som e of t he pr oblem s m ay occur as a r esult of a lack of collaborat ive effort am ong inst ruct ors, and even from t he general charact erist ics of t he Turkish people. For exam ple, Lat ife m ent ioned t hat t he Turkish societ y is t radit ionally under t he influence of t w o k ey charact erist ic pat t erns of t hinking, ‘t ev ekkul’ w hich m eans leaving ev eryt hing in t he hands of God and t rust ing God will arrange t hings for t he best , and ‘fat alism ’ w hich m eans t h e accept ance of all t hings and ev ent s as inevit able. How ev er , posit iv e aspect s of a cent ralized educat ion are also acknowledged by m any in Turk ey . Yon ca said t hat t he Council of Higher Educat ion is n ecessary for Turk ey and it should st ay because t he societ y and t hus univ er sit ies n eed a cont r ol m echanism . She added t hat an aut onom ous sy st em of educat ion w ould furt her cause st ruct ural problem s and polit ical int ervent ions. The role of t he univ ersit y pr ofessor em er ged fr om t he int er view s as an addit ional focus of concern. Oguz put s t h e universit y professor at t he cent er of t he problem s. For him , as a result of low salaries and ot her inst it ut ional issues, professors direct t heir focus and en ergy t oward t h e m oney m aking aspect of t heir art w hile put t ing aside t heir educat ional ident it ies. Aligned wit h Oguz, Feh m i also t hinks t hat in su ch econom ic hardship, concent rat ion shift s t o individual survival m et hods such as selling art w orks, or accept ing com m issions from a polit ical body . Pa r t icip a n t s’ Solu t ion s t o t h e Ex ist in g Ar e a s of W e a k n e ss Possible solut ions for pr oblem s regarding pre- ser vice art educat ion in Turk ey, as recom m ended by t he r espondent s, w er e div er se. Fehm i, Bah ri, and Oguz said universit y inst ruct or s should cont inuously renew t hem selv es and k eep t heir door s open t o t he w orld and concent rat e on edu cat ional issu es. Must afa and Ay sen, expr essed t hat t eacher educat ion is v er y im port ant because of it s chain of im pact . For t hem , on e w ell edu cat ed and fr ee- t hinking st udent will pass on his/ her wisdom and philosophy t o his/ her own st udent s and his/ her own childr en. I f t he t eacher educat or could achiev e t his wit h one person, t his behavioral philosophical change could serv e as a cat harsis for societ al change. This chain of ev ent s w ould be at t he heart of t h e proposed radical t ransform at ion. https://doi.org/10.20429/ijsotl.2009.030222 5 Perceptions of Visual Culture Pa r t icip a n t s’ Pe r ce pt ion s of Visu a l Cu lt u r e a n d Pop u la r Cu lt u r e a n d t h e ir Applica t ion t o Pr e - se r vice Ar t Ed u ca t ion Thr ee of t h e part icipant s w er e puzzled wh en asked t o define visual cult ure. The definit ions reflect ed unfam iliarit y w it h t he concept of visual cult ure, while fam iliarit y wit h t he t erm s ‘visual’ and ‘cult ure’ led t hem t o pr ovide varied answers. For Yonca, visual cult ure m eant t radit ional art and cult ure of t he societ y and how t hey ar e perceiv ed by t he y oung generat ion. For Oguz an d Must afa, it m eant t he educat ion of t ast es. Bah ri sim plified t he concept of visual cult ure t o a child’s pr eoccupat ion and ident ificat ion wit h t elevision cart oon charact ers, and t h e char act ers’ im pact on t he cr eat iv e w orld and int elligence of t he child. He said t hat as soon as t h e child st art s experien cing life wit h t hese charact ers, h e or she is, in a way, abduct ed by t he syst em of visual condit ioning. Lat ife, Ay sen, an d I sm et defin ed visual cult ure as ev er yt hing seen t hrough t he eyes, and anyt hing t hat is r elat ed t o t h e visual; any kind of cult ural t ypes t hat are based on t he visual and t he underst anding of t he visual. For t hem , t his visual per cept ion involves ev ery t hing regardless of m eaning or aest het ic value. Th e per cept ion of a connect ion bet w een t raining of aest het ic t ast es and t raining in visual cult ure r eflect s confu sion in t er m s. To raise t he aest het ic consciousness or t o increase good t ast e is im por t ant in art educat ion. How ev er, edu cat ion of visual cult ure m eans enhancing st udent s’ crit ical t hinking abilit ies t oward t he ev er yday visual experience, regar dless of t he aest het ic qualit y. People, who define visu al cult ure as t he im prov em ent of aest het ic good t ast e, perceiv e ‘cult ure’ as ‘superiorit y ’. Accor ding t o t hem , visual cult ure is not som et hing t hat t he societ y uses in daily life. A person wit h cult ure is perceived as a person w ho is int elligent , welleducat ed, and lit erat e – superior. Varied connot at ions of t he m eaning of cult ur e w er e r eflect ed in t he r esponses. As it is com m only defined, cult ure is sim ply t he sy m bols and m eanings t hat un ify societ ies or an accum ulat ion of t he social processes of a civilizat ion. We speak of differ ent cult ures su ch as fam ily, nat ional, et hical, global, w ork , univ ersit y , foot ball, or gay ( Lewis, 2002) . All of t hese differ ent t ypes of cult ures ar e m odified or int en sified t hrough m ass m edia im ages and inform at ion t echnologies in t he cont em porar y gl obal age. Th e effect s of globalism becam e a cent ral t hem e in t he discussion of visual cult ure. Yonca and Aysen praised t he richness of t he cr aft s and t radit ional art s in Turk ey such as carpet s, rugs, em broidery, ceram ics, and m arbling. How ev er, bot h shar ed t he view t hat t hese t radit ional art s an d cust om s ar e slowly disappearing as a result of ex t ernal influences, such as globalism . I n Ay sen ’s view , t he influ ence of globalism cont ribut es t o Tu rkish societ y becom ing incr easingly superficial. For Lat ife, Tu rk ey is under t he influence of cult ural globalism t hat increasingl y st ereot ypes people in t he w orld. Sim ilarly, Bahri st at ed t hat because ev er ybody receives t he sam e infor m at ion and dr esses ident ically in a globalized world, it is lik ely t hat people will lose t heir spirit ual richness and ev ent ually t urn int o robot s. Aysen, I sm et , and Lat ife perceiv ed visual cult ur e as “ ev er yt hing w e see wit h our ey es.” Lat ife said t hat it is about ev eryt hing r elat ed t o t he visual; any kind of cult ural t ypes t hat are based on vision and underst anding of t he visual; cinem a, folk dance, archit ect ure, cit y cult ure, t elevision , com put er, et c. I sm et m ade t he point t hat , it is ev er yt hing w e com preh end t hrough t h e ey es, from t h e clot hes w e wear t o t he st r eet on which we w alk; from t he com m ercial im age t o a cart oon m ovie; f rom t he cart oon m ovie t o Mona Lisa; from Mona Lisa t o differ ent v ersions of Mona Lisa; t o logos. https://doi.org/10.20429/ijsotl.2009.030222 6 IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 I sm et , w ho has a broad knowledge of visual cult ure and visual cult ure ar t educat ion, said t hat visual cult ure includes ev ery t hing from our ways of seeing t o t he m essages t hat are given t o us wit h differ en t visual codes, and t o t h e fact t hat it is generally separ at ed from art educat ion on t he basis of rej ect ion of popular cult ure in art educat ion. I sm et said, When w e t alk about art educat ion being a visual cult ure art educat ion, surely it would be a far- reaching sym bolic change. What is im port ant is what is done in classroom s. But I t hink, if t he 150 y ear old discipline t hat is called art educat ion is t o r eflect t h e m eaning and relevance of visual cult ure, it definit ely has t o include popular cult ur e t hat has been great ly influencing us. I f art educat ion w on’t m ent ion popular cult ure, it will lose it s r elevancy . Wh en t her e are com put er gam es t hat ar e becom ing im por t ant leisure sou rces, it is ver y odd t o hav e children t o draw a vase in an art class. The m aj orit y of t h e r espondent s perceived t hat visual cult ure can be r eflect ed in pre- ser vice art educat ion. How ev er, due t o t he concept confusion, 6 of t h e r espondent s, Aysen, Oguz, Yonca, Bahri, Fehm i, and Must afa w er e eit her u nsure about how visual cult ure can be pract iced in educat ion or sim ply gav e t angent ial com m ent s. For Ay sen and Oguz, t he m aj orit y of st udent s ex hibit charact erist ics r esult ing from t heir upbrin ging and educat ion t hat would creat e challenges t o t he st udy of visual cult ure in art t eacher educat ion. Lat ife approached it from a polit ical st andpoint and em phasized t hat st udent s need t o be educat ed about environm ent al, polit ical and social, and econom ic issues befor e anyt hing else becau se t he count r y is inundat ed wit h serious concer ns such as illit eracy, econom ic, and ot her social problem s. Like Aysen, Oguz also com plained about st uden t s who are incapable of t he crit ical learning process. He said, Because t h e social cult ure is deeply root ed and est ablished, t he form at ion of t he int ellect ual cult ure t hat we im port ed fr om out side ( West ) is t aking a long t im e. Act ually, ou r y oungst ers ar e open t o renovat ion s, but social and t radit ional dogm as prev ent t hem from beh aving m or e fr eely. This is reflect ed in edu cat ion, in art , in scien ce, and in business. I sm et said, “ We, as art educat ors, m ust include all t ypes of visual cult ure in order t o enhance our st udent s’ crit ical approach t o t he t hings around t hem ’, an d one of t he basic reasons for t his is t hat capit alism now is of such a dim ension t hat people buy wit hout ev en quest ioning whet her t hey really hav e a need, wit h t he encouragem ent of t he com m ercials.” I sm et st at ed, Present ly, as in Am erica, big shopping m alls ar e built in t he big cit ies of Turk ey and windows do not exist , even t hough window s ar e basic elem ent s in arch it ect ure. I ask why t hey don’t build windows, and som eone says it is because com m er cial ads will be placed on t he walls. I m ean, com m ercialism is t hat im port ant . I f w e happen t o com par e what is spent for t h e fin e art s and what is spent in com m ercials…it is crazy! They k eep w orking harder and har der and spen ding m or e and m or e m oney t o increase t he lev el of desire in people. That ’s wh y, it is an obligat ion t o include visual cult ure in art edu cat ion…not even ext ending t he scope of art educat ion…it is an obligat ion! https://doi.org/10.20429/ijsotl.2009.030222 7 Perceptions of Visual Culture Pa r t icip a n t s’ Pe r spe ct ive s on Te a ch in g Ar t St u dio a n d Pe d a g og y Because visual cult ure and popular cult ure ar e part of st udent s’ daily lives im pact ing t heir learning in subst ant ial ways, par t icipant s’ view s on m aking connect ion s wit h st udent s’ daily lives were explored. Th e m aj orit y gav e ex am ples from t heir t eaching pr act ices or m et aphorical st at em ent s t hat im ply t he n ecessit y of m aking connect ions. Lat ife said, “ Because daily lives change sim ult aneously wit h t he speed of t oday’s w orld, curriculum is no longer able t o cat ch up wit h t h e speed of life.” I n her opinion, becau se of t he cont inuous change of concerns and agendas, it is v ery im port ant t hat universit y inst ruct or s cont inuously updat e t heir knowledge and t eaching m et hods in order t o pr event falling behind t heir st udent s. I n Fehm i’s view , A wrong approach t o art educat ion was creat ed a long t im e ago in Turk ey and it st ill lingers t oday. For inst an ce, if y ou consider a dr awing based in a sch em at ic – illust rat ive m anner, it is enough t o draw a v ase proport ionally . What happens t hen? The art t eacher draws a vase on t he blackboard, and say s t hat is how y ou need t o draw. What does it m ean? Then it becom es a science. Th ere is a right w ay of drawing it , t hen…right w ay of drawing a vase! Ther e is no such t hing! I f t his is art , ev erybody ’s right way is different from t he ot h er ; ev er ybody’s v ase will be different . The r esponsibilit y of an art t eacher is t o enlarge t he horizons of t he children and t o t each t hem how t o look and how t o learn fr om t hings. And it is a t rick y one…t o provide t he child t he power of int erpr et at ion. Ar t is an individual t hing. I f t her e ar e 15 st udent s, t h en t here are 15 issues. A t each er needs t o be close t o his st udent s and shar e his kn owledge and experience wit h t hem . Any one who w on’t shar e sh ould not be an art t each er. Lat ife repeat ed her opinion against t he st andardized curriculum on t h e basis t hat it does not enable t he inst ruct ors t o go beyond t he pr edet erm in ed subj ect s t o t alk ing about such t hings as daily life issues, or social issues. Sh e said t h at she n o longer lim it s h erself t o art m aking act ivit ies or art conv ersat ions in her classes. I t is im port ant for her t o t alk about m any ot her t hings t hat can be v ery influent ial in st udent s’ lives. Because daily lives change sim ult aneously wit h t he speed of t oday’s w orld, so do t h e issues and concern s change and t ransform t h em selv es. Ther efore, she believ es, curriculum is no longer able t o cat ch up wit h t he speed of life, and it is v ery im port ant t hat pr ofessors const ant ly updat e t heir t eaching m et hods, t hem selv es, and t heir kn owledge. The r espondent s w er e asked if t hey believ e in cr oss- disciplinary st udy in a new and rapidly dev eloping field. I f so, t hey w ere ask ed t o descr ibe any cr oss- disciplinary exam ples t hat t hey use in t heir program s. Six out of eight r espondent s ex pr essed a posit iv e view indicat ing t hat t hey believ e in and apply cross- disciplinary st udies. Yon ca said t hat t hey use an int erdisciplinary appr oach in t heir classes wit h an em phasis on discipline based art educat ion. Sh e said, “ We include crit icism , art hist ory, and aest h et ics in our classes. We have st udent s creat e t h eat re play designs. We ask t hem quest ions r elat ed t o t h e st ories t hey w rit e.” Must afa said t hat he m ost ly uses eit her m usic or m ovies especially in his special t eaching m et hods class. He said t hat h e sh ows his st udent s fragm ent s of som e m ovies, which he believ es t o have educat ional benefit s. He cont inued by saying, “ I do t hat in order t o provide st udent s a wider perspect iv e and a cr it ical viewpoint . St udent s learn from analyzing som e m ovies t hat ar e classified as art ist ic creat ions.” https://doi.org/10.20429/ijsotl.2009.030222 8 IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 I sm et point ed out t hat ‘int erdisciplinary’ and ‘holist ic’ are v er y sim ilar concept s. For I sm et , a t each er who recognizes art educat ion as visual cult ure has t o be h olist ic because it envelopes a m uch bigger area. He said, “ I no longer hav e t he concept of art t h eor y t hat is dependent on t he for m alist rules, which are based on t h e lim it at ive Kant aest het ic. I ext ended m y view of art t o all kinds of art relat ed sh ows such as caricat ure exhibit s or 3- D m ovies. I kn ow t hat I should n ot k eep m y ey es closed t o t hose, since I operat e wit h t he consciousn ess of being a t each er. Am erica has benefit ed m e great ly in gaining t his.” Lat ife expr essed h er st r ong belief and t endency t oward int er disciplinary st udy. I n h er w ords, Owing t o t h e fast dev elopm ent of t he infor m at ion age, t here are no m ore bor ders. Now, t he bor ders bet w een sciences, art s, and ot her disciplines ar e lost . I feel lik e ev eryt hing is being put in a big pot . For inst ance, I cann ot separat e art from philosophy, sociology, psychology, or phy sics. Art com es out of t he synt hesis of all t hese disciplines. For inst ance, quant um physics was reflect ed in art . What was t he m odernism saying: ‘t here is one t rut h, and t his t rut h is j ust ified t hr ough em pirical st udies’. What , how ev er , post m odernism said aft er quant um physics is; ‘t here is no on e t rut h, and ev er y ev ent or ev ery sit uat ion creat es it s own t rut h’. I read Baudrillard and Fou cault who t alk ed about t his as w ell. Such as Baudrillard’s ‘Sim ulacra’ or Foucault ’s ‘This is n ot a pipe’. Bot h of t hem w r ot e on sim ulat ion. I believ e art is m uch relat ed t o philosophy and psychology as w ell as t o t he polit ics, physics, and ot h er scien ces. Art is som et hing t hat is creat ed by t he com binat ion or synt hesis of all. That is why I st rongly believ e in t he int er disciplinary approach. Finally, t he part icipant s wer e ask ed if t h ey use v isual t echn ologies inclu ding phot ogr aphy , cinem a, t elevision , com put er im age, and digit al art . They w ere ask ed t o giv e a brief descript ion of t h e m edia t echnologies t hey use in t heir classes. For t he m aj orit y of t h em , t h e I nt ernet is an excellent source t hat encourages and facilit at es t h e acquisit ion of new knowledge and appr eciat ion of art . The par t icipant s indicat ed t hat t he m ost com m on use of t he I nt ern et in classes is searchin g for visual im ages. The st udy im plied t hat t he n ew and em erging soft w are m ay not be used du e t o t he lack of knowledge or unavailabilit y of soft ware in art educat ion depart m ent s in Tu rk ey. Anot her im plicat ion is t hat t he accessibilit y t o net w orking t echnologies m ay also vary acr oss different universit ies and regions. Universit ies sit uat ed in m aj or cit ies in Tur k ey ar e likely t o hav e wider opport unit ies for t he use of t h e m edia. Discu ssion I m plica t ion s for W h a t Visu a l Cu lt u r e is in t h e Con t e x t of Tu r k e y The discussion focuses on t he m eaning of visual cult ure in t he cont ext of Turk ey. Visual im ages of a cult ure t hat is subj ect ed t o drast ic changes in a short period of t im e m ay pr esent a com pilat ion of im ages t hat ar e conj oin ed in v ery unprecedent ed ways. For exam ple, an evaluat ion of what visual cult ure m eans in Tu rk ey m ay be a com plex one since Turk ey , as a developing count ry, adopt s West er n values for t he pur pose of West ernizat ion, while condit ioned by I slam ic values. This creat es unique form s of visualit y t hat is charact erized by t h e com binat ion of t he West v erses t he East , t he Christ ian ver ses t he I slam ic, or t he old v erses t he n ew. I m port ant ly, visual cult ure does not consist of st andardized m et hods or set s of concept s. https://doi.org/10.20429/ijsotl.2009.030222 9 Perceptions of Visual Culture An im port ant reason for t he int er est in visual cult ure is it ’s em beddedness in local cult ures. As point ed out by Ander son and Milbrandt ( 2003) , visual cult ure is a “ socially grounded approach t hat recognizes t he cont ext of m aking and viewing as being as im por t ant as t he art ifact s and per form an ces t hem selv es” ( p.63) . Shopping m alls, for ex am ple, w ould hav e lit t le relevance t o a Turk ish person who lives in r ural sect ions of t he count ry. Likewise, t he script s w rit t en on t ruck s or decorat ions of public busses w ould hol d n o r elev ance t o an Am erican cit izen. People’s underst anding of t h e social and rit ual m eanings of visual form s m ay v ary great ly from one cult ure t o anot her. Regardless of t he differ ent form s and charact er ist ics t hat visual cult ure t ak es in social and cult ural cont ext s, t he discou rse of visual cult ure is based on prom ot ing st udent s’ crit ical underst anding for t he purpose of em pow er m ent ( Anderson and Milbran dt , 2003) . I t s focal obj ect iv e is t o enable st udent s t o explor e t heir own m eanings inst ead of passively accept ing m eaning from a book or a t eacher. This obj ect ive of visual cult ur e art educat ion becam e t he focus of t his r esearch. Advocat es of visual cult ure right fully encourage art educat or s t o dev elop crit ical t hink ers who m ay quest ion social fact or s wit hin t he societ y. Wit hin t he cont ext of Turk ey , social fact ors ar e shaped by t he hist orical background, polit ics, and religion. These fact or s som et im es r est rict t h e lev el of crit ique in cert ain areas. For inst ance, t he fact t hat t her e is less t oler ance for out spok en crit icism direct ed t owards est ablish ed inst it ut ions or social phenom ena t han in Am erica and ot h er w est ern count ries, m ay hinder t he pr ocess of decoding t he inher ent m eanings of art ifact s t hat hav e polit ical connot at ions. Nev ert heless, wit h it s em phasis on crit ical pedagogy, ev ery day aest het ic ex periences, social reconst ruct ion, and int erdisciplinary m et h ods, v isual cult ure m ay creat e great possibilit ies for Turk ey . Scrut iny of t he exist ing com plex social realit ies t hat find t heir ex pression in t he visual cult ure in Turk ey m ay cr eat e a new con sciousness in st udent s. Media, social life, polit ics, and religion con st ruct a v er y rich and com plex pile of visual cult ure in Tu rk ey. For exam ple, t he increasing popularit y of shopping m alls in Turk ey along wit h ot her av enues of consum erism is wort hy of explorat ion as relat ed t o visual cult ure wit hin t he Turkish cont ext . Mor eov er, t he w ay t hat West ern sym bols ar e com bined wit h t radit ional sym bols int o peculiar for m s in Tur k ey requires fu rt her explorat ion. For inst ance, an ex hibit ion t hat was organized by t he Coca Cola Com pany in I st anbul in 2002 m ay be an ex cellent exam ple of t he j uxt aposit ion of t h e global and t he local. Th e exhibit ion involv ed int erest ing Cola bot t les one of which was cov er ed wit h Evil- Ey e beads —Nazar Boncugu ( t radit ional lucky charm ) . This is n ot st range wit hin Tur kish cult ure wit h houses in which ev er yt hing; dining t ables, coffee t ables, dressers, chairs, kit ch en cabinet s, ev en glasses and plat es ar e em bellished wit h needle w ork and v arious ot her em br oider y ( Kahram an, 2007) . Flow er pat t erned car pet s cov er t he floor s and num erou s ot h er t ypes of decorat ions fill t he houses. That specific Coca Cola bot t le sy m bolizes t hat charact erist ic. A Coca Cola com m ercial on Tu rkish Television w hich feat ures a Ram adan ( t he I slam ic m ont h of fast ing) I ft ar m eal ( t he m eal t o br eak t he fast ) wit h it s t radit ional Ot t om an m usic sung by a wom en’s chorus is an ot her exam ple. On e of it s im plicat ions is t he h om ogenizat ion of t he world cult ures t hat gat her around com m onalit ies; ev er ybody w ears j eans; ev er ybody eat s McDonalds, ev erybody drinks Coca Cola, or ev er ybody wat ch es t he sam e pr ogram s, et c. The product m u st j oin t he cult ur e in order t o be desired by t hat cult ure ( Kahram an, 2007) . A st udy of t his com m ercial wit hin t he discou rse of visual cult ure m ay bring t o light various concern s and discu ssions such as hom ogenizat ion of t he w orld. https://doi.org/10.20429/ijsotl.2009.030222 10 IJ-SoTL, Vol. 3 [2009], No. 2, Art. 22 I m plica t ion s for H o w Visu a l Cu lt u r e Ca n Be Ta u gh t in Tu r k ish Pr e - Se r v ice Ar t Edu ca t ion Wit h respect t o t he t hem es derived from t his r esearch, t he st udy lends it self t o various t heoret ical perspect iv es t hat highlight t he necessit y of inclusion of visual cult ure and popular cult ure st udies in pre- service art educat ion in Turk ey. Various t en et s an d t hem es of t his research can be seen t h rough len ses of variou s sociological and cult ural perspect iv es. On e concern which was poin t ed out by a few r espondent s w as t he st udent s’ low int ellect ual qualit y and lack of self- confiden ce t hat hinder inst ruct ors’ efficacy. Ther efor e, it is essent ial t hat art t each er educat ors t ak e differ ent approaches and orient at ions t oward guiding t heir st udent s t o becom e m or e effect ive learners and t each ers. To t his end, it is im port ant t hat t eacher educat or s m ust be willing t o change som e of t heir t radit ional w ays of t eaching. These effor t s sh ould focus on increasing art t eacher educat ion candidat es’ com pet ence and confiden ce t o ex ecut e pract ices required t o pr oduce visually lit erat e st udent s. I n doing so, pre- ser vice inst ruct or s should int egrat e on- goin g cult ural t ransform at ions ex em plified as visual cult ure or popular cult ure int o exist ing and new courses. Mor e specifically, pre- service art t eacher s should be t aught about visual cult ure in t heir own social cont ext as part of t h eir learning t heory requir em ent s in t heir t eacher educat ion pr ogram s. Wit hin art t each er educat ion in Turk ey , visual cult ure could be a m eans t o break from t he t radit ional approaches t hat ar e prim arily based on design principles and t echniques, and for m alist ic ideals of art . Teach er s m aint ain t he t radit ion by t eaching in t he way t hey w er e t aught . Visual cult ure pedagogy would be an ex cellent alt ernat iv e, allowing art edu cat ion t o m ov e away from t h ese t radit ions. As suggest ed by Herm ann ( 2005) , an underst anding of m ult iple viewpoint s m ust be discussed in t h e classr oom and st uden t s should be encou raged t o t hink crit ically about t he visual cult ure of which t hey ar e a part of. I n t he irr ev ersible t ide of globalizat ion, et hnic t r adit ional art s ar e ex posed t o cont em por ary t rends t o a gr eat er degree t han ev er befor e. Th e visual cult ure t hat em erges fr om t h e int erplay bet w een t he local and t he global rev eals a t en sion bet ween t r adit ional art s of Turk ey and cont em porary t rends. Tu rkish t radit ional art s m ay be a m eans of im proving st udent s’ underst anding of t h eir own cult ural values and beliefs. For inst ance, st udent s can exam ine t he place of ru gs wit hin t he cont ext of I slam and t he n om adic past , which could provide a basis for m eaning m aking. The explor at ion of t he m eanings of local and t radit ional art s bey ond urgent m eanings learn ed from book s or inst ruct or s can be m aint ained. This could be achieved t hrou gh crit ical pedagogy wit h a focus on exam ining crit ical inquiries t hat are relevant t o st udent s’ social liv es not j ust wit hin, but also beyond school. Furt her m ore, t h e pow er of in corporat ing visual cult ure in t eacher t raining can provide new perspect iv es t o Turkish st udent s t ow ard recont ext ualizing t hem selves, and crit ically recognizing what im pact s t hem . Thus, visual cult ure can lead t o a crit ical pedagogy t hat em pow ers t h em t o m ak e ch oices of how t h ey r einvent t hem selv es for t he fut ure. As st udent s m ak e consciou s choices, t h eir awareness of social su rroundings can be height ened. Therefore, visual cult ure m aint ains an obj ect iv e of social r econst ru ct ion, which is about underst anding issu es of pow er and m aking decisions t o cor rect in equalit ies. Con clu sion This paper is not about pr esent ing a new fool- proof m et hod for visual cult ure st udies in pre- ser vice art educat ion program s in Turk ey . I t has shown t hat k ey ex periences relat ed https://doi.org/10.20429/ijsotl.2009.030222 11 Perceptions of Visual Culture t o visual cult ure in high er educat ion shar e coh erent t hem es. While no single st rat egy w as offered, t he r esult s suggest t hat professors should be awar e of t heir educat ional pot ent ial and t he dept h of t heir possible influences on st udent s’ learning. This st udy has also sh own t he im port ance of professors’ educat ional effor t s in ov ercom ing challenges. The evidence point s t o st rat egies t hat are w or t h pursuing. On e su ch st rat egy for creat ing necessar y reform at ion is t o ex pan d t he shift from a m ore t eacher- cent er ed t o a m or e st udent - cent er ed schooling sy st em . Findings furt her indicat e t hat current professors do not have t he t raining so t h ey cannot t each w hat t hey do not kn ow and t hat t raining pre- ser vice t eacher s t he old ways does not creat e change. Thus, t raining in visual cult ure art educat ion for pr ofessor s and pre- ser vice t each er s is n ecessary t ow ards m aking a change and cr eat ing a chain of im pact on t he societ y . I n conclusion, visual cult ure as a concept and as a discipline is new and adherent s in Tu rk ey are v er y few . Ther e is a need for a conscious concern for visual cult ure in educat ion. I n spit e of t he fact t hat Turk ey has been t he h om e of m any rich civilizat ions wit h t heir rich visualit y, t he rapid changes brought by indust rializat ion and urbanizat ion have cr eat ed great er m eanings and aspect s of visual cult ure. I believ e visual cult ure art educat ion would offer great possibilit ies in Tu rkey w her e rich visual im ageries exist wit h all t heir conflict s and dynam ics and in which all t he aspect s of being at t he cr ossr oads bet w een East and West ar e reflect ed in ev ery shape of social life. Re fe r e n ce s Ander son, T. & Milbrandt , M. ( 2005) . 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